Released a few days ago in the United States and expected on July 8 in France, Backrooms : Everything Must Go is already generating a lot of buzz. This new version of Kane Parsons' film adds 16 minutes of brand-new content, entirely placed after the end credits. But what exactly do these extra scenes tell us? And do they really justify another trip to the theater?
BACKROOMS : EVERYTHING MUST GO SPOILERS
First things first : if you enjoyed Backrooms, I strongly recommend seeing it a second time regardless. Because of its deliberately complex storytelling and the sheer number of small details scattered throughout the film, many viewers missed important elements on their first watch - elements that will feel far more obvious on a second viewing.
Important note : these 16 extra minutes are not integrated into the main film. You must stay until the very end of the credits to discover them.
Backrooms : Everything Must Go takes place on June 18, 1990 - eleven days before Clark discovers the Backrooms. We follow a group of ASYNC employees whose cameraman is none other than Naren Warne, the man whose ID card Clark will later find during the main film.
Very quickly, the group stumbles upon something strange : several billboards coming directly from Cap'n Clark's Ottoman Empire. They all bear exactly the same message : "Everything Must Go." Yet at this point in time, Clark has never discovered the Backrooms.
The ASYNC employees then begin studying this anomaly. They measure the distance between the billboards, analyze their layout, and quickly notice something strange : they all seem to follow an extremely precise pattern.
After several calculations, one employee puts forward a particularly unsettling hypothesis : if this pattern is real, another billboard should theoretically be located behind one of the walls.
The team decides to break through the wall and against all expectations, they do indeed discover a new billboard. But that's not all.
Behind this wall is a partial reproduction of Clark's store. The employees discover, among other things, a mannequin holding a ship's wheel, whose hand seems to pass through the wall they have just opened.
As they continue exploring, they finally come across an old television broadcasting degraded images, accompanied by Japanese text and particularly unsettling music. At that point, the group decides it is probably best to abandon their research and leave.
But just as they begin to turn back, a silhouette suddenly appears before them : Captain Clark.
Like the main film, these 16 extra minutes seem to raise even more questions than they answer.
